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7-28-05 (Part 9) Armond White on Kate Bush "Love and Anger" July 28, 2005 (Part 9) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on Armond White's comments. Artist: Kate Bush Song: "Love and Anger" Director: Kate Bush Producer: Sophie Cuthbertson Editor: Dave Gardener Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org To see the entire Kate Bush "Love and Anger" music video, check out this youtube.com link: http://www.youtube.com/watch?v=9ipM__nt8fM Tags: Armond White Kate Bush Love and Anger Pop

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July 28, 2005 (Part 8) Armond White on Jay Z "Dirt Off Your July 28, 2005. (Part 8) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on Armond White's comments. Artist: Jay Z Song: "Dirt Off Your Shoulder" Director: Dave Meyers Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Jay-Z Dave Meyers Dirt Off Your Shoulder Hip-Hop Rap

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7-28-05 (Part 7) Armond White on Jay Z "99 Problems" July 28, 2005 (Part 7) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. American Gangster? Gangsta? Artist: Jay Z Song: "99 Problems" Director: Mark Romanek Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on Armond White's comments. http://www.markromanek.com/press/nypressb.html Here are some Armond White quotes on the music video (from his extended essay on the 99 Problems music video)... "hiphop hit a brick wall at its most influential moment with booty-clapping, money-tossing imagery and lurid, greed-driven lyrical content. but filmmaker mark romanek and jay-z have finally broken through this ethical stagnation with the new music video 99 problems. it's a strong, strangely beautiful fiction that subverts hiphop cliche and achieves a streetwise definition of new york city that film and music fans have been waiting to see updated since mean streets..." "...in stevie wonder's 1973 "living for the city," a tourist famously (and naively) exclaimed "new york! just like i pictured it!" ironically, romanek proves that in the hiphop era most people's idea of new york comes from videos (and movies) that dishonestly construct a stereotypical new york of loiterers, thugs and reprobates. black and white film gives it a documentary effect, as if casting an anthropological eye on graffiti, tenements, break-dancers and flashy cars. the stylized look distances ghetto life, but romanek's structure shifts from borough to borough, playground to jailhouse—a series of interlocking actions from a crazy-quilt travelogue of new york city. 99 problems shows a young black man's new york as it has never been seen before. jay-z spins a tale of common aimlessness and selfish survival ("ya havin' girl problems?/i feel bad for you, son/i got 99 problems/and a bitch ain't one"). his delivery is terse yet eloquent—swingsong, but the world he walks through is ferocious..." "...no rap fan watching 99 problems would sensibly long to partake in its spectacle. the jail scenes (with frontal nudity of inmates being sprayed for lice) are controversial, restricting the video's airplay even on cable outlets. this is a tribute to romanek's visual intensity. he has an iconographic gift to make commonplace things memorable or (as in hurt for johnny cash) numinous. in 99 problems, images and words become a wrecking ball against the familiar edifice of ghetto-fabulous determinism. 99 problems breaks through the nyc truisms of poverty and deprivation that hiphop culture has romanticized. romanek sees the place clearer, tougher and poetically. the cliches will no longer stand." "every other music video director will have to face up to this and respond. romanek's esthetics are informed by a rare social consciousness. (he not only shows what new york folks look like, but how they actually live, mixing harshness and lyricism.) that's the subversion. this video questions what all the others say is fly, def or cool by showing that hipster perspective to be limited; simply sexy rather than shocking; and laughable instead of tragic. "we're trying to show the artistry side of hiphop," jay-z told a reporter. "i just really wanted [mark] to shoot like where i'm from in brooklyn and shoot the hood, but shoot it like art, not just shoot a bunch of dudes or a bunch of cars." "...as romanek's images keep coming at you—pulsing to producer rick rubin's sullen, reverberating beat—they fall into line as maybe the truest-ever hiphop portrait of new york life. from the marcy projects to a church in brooklyn, it's a visual parade of around-the-corner confrontations, whimsical children, lost adults, desperate hedonism—the things most hiphop videos treat blithely. no bling-bling allowed. romanek never pauses for condescension, but a couple shots that dolly into a funeral home, then a coffin, are appropriately stunning. only the inevitability of death impedes on the velocity of life..." Director MARK ROMANEK can be reached at: http://www.markromanek.com You can also see the director's cut of the Jay-Z "99 Problems" music video at http://www.markromanek.com NOTE: In the mid-90's (not sure of year, perhaps 1995?) Critic Armond White devoted an entire music video presentation to the work of Director/Filmmaker MARK ROMANEK, director of this music video. Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Jay Mark Romanek 99 Problems American Gangster Gangsta Hip-Hop Rap Rock Rick Rubin Vincent Gallo Pop

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7-28-05 (Part 6) Armond White on Bjork "Who Is It" July 28, 2005. (Part 6) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on the critic's comments. Artist: Bjork Song: "Who Is It" Director: Dawn Shadforth Producer: Annabel Ridley Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Bjork Who Is It Dawn Shadforth World Music

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7-28-05 (Part 5) Armond White on Kanye West "Jesus Walks" July 28, 2005. (Part 5) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on Armond White's comments. Donda West Artist: Kanye West Song: "Jesus Walks" Director: Michael Haussman Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Kanye West Jesus Walks Hip-Hop Rap Michael Haussman Donda

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7-28-05 (Part 4) Armond White on Morrissey July 28, 2005 (Part 4) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on Armond White's comments. Artist: Morrissey Song: "I Have Forgiven Jesus" Director: Bucky Fukumoto Tags: Armond White Morrissey Have Forgiven Jesus Bucky Fukumoto

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7-28-05 (Part 3) Armond White on Chemical Brothers, etc July 28, 2005 (Part 3) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on the critic's comments. Here Armond White talks about THREE music videos. VIDEO 1 Artist: Chemical Brothers Song: "Get High" Director: Joseph Khan VIDEO 2 Artist: TV on The Radio Song: "Dreams" Director: Justin Pandolfino VIDEO 3 Artist: Lemon Jelly Song: "A Man Like Me" Director: Fred Deakin/Airside Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Director Joseph Khan can be reached at: http://www.josephkahn.com/ Tags: Armond White Chemical Brothers Get High Joseph Khan Dreams TV on Radio Man Like Me Lemon Jelly

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7-28-05 (Part2B) Armond White on Ludacris "Get Back" July 28, 2005. (Part 2B) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Due to low camcorder battery energy, I didn't videotape the entire music video. I focused on the critic's comments. Artist: Ludacris Song: "Get Back" Director: Spike Jonze Here are some excerpts from an article on the video: http://www.blackvoices.com/entmain/music/review20050204 "Rapper Ludacris as Popeye? That's the big surprise of the 'Get Back' music video in which Ludacris joins the roster of artists to collaborate on a project with acclaimed, avant-pop director Spike Jonze. 'Get Back' is another antic satire like those Jonze created for Bjork ('It's Oh So Quiet'), The Beastie Boys ('Sabotage') and Fat Boy Slim's 'Weapons of Choice,' which revitalized actor Christopher Walken's career." "In 'Get Back,' Jonze also revamps Ludacris' pop image. It is the year's most startling music video because it applies an unexpected twist to Ludacris' persona. Always the comical partyer, Ludacris cleverly expounds the crazy thoughts in a kid's head when he gets high on camaraderie (or some chemical substance). He shows off exuberance for the enjoyment of his boys but also as a code that communicates he understands their desire to feel good. 'Get Back' forces viewers to reconsider some of the stereotypes of black male behavior commonly seen in hip-hop music videos but that has previously gone unexamined. So far this year no black actor has made a movie as clever as this. " "As a team, Jonze and Ludacris provoke audiences to think. By portraying an exaggeratedly macho figure -- a live-action cartoon -- Ludacris goes beyond the good-time imagery he's used before. This video demonstrates the degree of play-acting that goes on in rappers' brash exhibition of gangsta attitude. He is shown with huge, inflated Popeye-style forearms. It is a hyped-up image of strength that relates to the boyish affectation of machismo. Through this playful yet subversive image, hip-hop's macho ideal gets subverted. Its truth is often covered up by the contemporary fashion of hoodies, Tims, Kangols and prison gear. Jonze and Ludacris' Popeye image makes fun of selling woof-tickets. The masculine threat that is so popular in hip-hop videos is revealed for what it really is by making it so strange and funny..." "...Ludacris has the confidence to indulge a macho performance while also showing that he is aware how silly it is. (The Popeye cartoonishness admits that this is indeed a performance.) The opening lavatory scene where a fan annoys him while both stand at their respective urinal, is a startling suggestion of homosexual panic -- the fear that psychologists say is a symptom of male insecurity. After this, Luda-Popeye's swaggering explosion of macho-pride and macho-defensiveness doesn't simply seem natural -- it is exposed as desperate. Even scenes of Luda and his boys (some of them literally juveniles) stalking the streets, swinging their arms like cavemen, busting the cornerstones of buildings and smashing a mailbox (an object Jonze repeats from his Bjork video) further convey the idea that precepts of masculinity and patriarchal communication are being re-examined..." Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Google "Armond White" and "Ludacris" and "Get Back" for more... Tags: Armond White Ludacris Get Back Spike Jonze Hip-Hop Rap

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7-28-05 (Part 2A) Armond White on Bjork "Triumph Of A Heart" July 28, 2005 (Part 2A) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Singer: Bjork Song: "Triumph Of A Heart" Director: Spike Jonze Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Bjork Spike Jonze Triumph Of Heart

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7-28-05 (Part 1B) Armond White on Britney Spears July 28, 2005. (Part 1B) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Singer: Britney Spears Song: "Toxic" Director: Joseph Khan Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Joseph Khan can be reached courtesy of his website: http://www.josephkahn.com/ Tags: Armond White Pop Britney Spears Toxic Joseph Khan

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7-28-05 (Part1A) Armond White on Lemon Jelly July 28, 2005. (Part 1A) CRITIC Armond White "MUSIC TO MY EYES" Music Video Presentation at Lincoln Center. Band: Lemon Jelly Song: "Come Down On Me" Director: Fred Deakin/Airside Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Lemon Jelly Come Down On Me Fred Deakin Airside electronic

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(Part L) 7/25/03 Armond White on Evanescence (Part L) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. End of show. My mini-dv tape ran out. Didn't get the rest of Armond White's commentary nor was I able to videotape the music video. Band: Evanescence Song: "Bring Me To Life" Director: Philip Stotzl Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Evanescence Bring Me To Life Philip Stotzl

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(Part K) 7/25/03 Armond White on Scarface "On My Block" (Part K) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. I was near the end of my mini-dv tape. So I didn't videotape the video. I figure people interested are familiar with the video or can find it if they care to. Musician: Scarface Song: "On My Block" Director: Marc Klasfeld Marc Klasfeld can be reached at http://www.rhfilms.com Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Scarface On My Block Marc Klasfeld

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(Part J) 7/25/03 Armond White on Kylie Minoque (Part J) July 25, 2003 CRITIC Armond White "VISUAL RADIO" music video presentation at Lincoln Center. There's a mistake here. The critic Armond White credits Jean-Baptiste Mondino as the director where it was actually directed by Michel Gondry (whose work Armond White has presented--and raved about--in past music video presentations). Perhaps there was a miscredit on the promo video from the label? Artist: Kylie Minogue Song: "Come Into My World" Director: Michel Gondry Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Kylie Minoque Come Into My World Michel Gondry

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(Part I) 7/25/03 Armond White on Maxi Jazz & Robbie Williams (Part I) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. Musicians: Maxi Jazz and Robbie Williams Song: "My Culture" Director: Tim Hope Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Maxi Jazz Robbie Williams My Culture Tim Hope

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(Part H) 7/25/03 Armond White on Floetry "Floetic" (Part H) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. Band: Floetry Song: "Floetic" Director: Marc Klasfeld Marc Klasfeld can be reached at www.rhfilms.com Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Floetry Floetic Marc Klasfeld

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(Part G) 7/25/03 Armond White on Johnny Cash "Hurt" (Part G) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. Musician: Johnny Cash Song: "Hurt" Director: Mark Romanek Producer: Aris McGarry Director of Photography: Jean Yves Escoffier Editor: Robert Duffy Production Designer: Ruby Guidara Wardrobe Stylist: Peggy Knight http://www.markromanek.com/press/nypress.html Excerpts of a 3/12/03 NYPress essay on the music video ahhh, film. director mark romanek mixes staged footage, old documentary, hollywood clips and sundry movie excerpts into an emotional impasto for johnny cash's music video for "hurt." there is a conscious use of film as the repository of memory and feelings that seems a perfect expression of the song's mournful nostalgia when, in fact, nostalgia is transcended (if that's the right word) by the way romanek's collated imagery burrows deep beneath it... ...flashing back through cash's career, romanek also flashes through our pop lives—cashing-in on our memories or resolving newly created interest in the singer's past. the "hurt" video operates as a johnny cash cinematheque; a career retrospective that recalls one of those michael jackson history-era montages only this time emphasizing the artist's personal recoil and regret. it's mighty unsettling when cash warbles, "you can have it all/my empire of dirt" and romanek then shows us a lifetime's accumulated trophies — insubstantial tinsel including a framed gold record. as newcomer reznor sang the line, "dirt" was dirt. with cash it's a heavy summation of the now-meaningless accolades the music industry and his fans have bestowed... Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Johnny Cash Hurt Mark Romanek

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(Part F) Armond White on Johnny Reznick (Part F) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. Musician: Johnny Reznick Song: "I'm Still Here" Director: Tim Hope Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Johnny Reznick I'm Still Here Tim Hope

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(Part E) 7/25/03 Armond White on Foo Fighters (Part E) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. Band: Foo Fighters Song: "Times Like These" Director: Marc Klasfeld Producer: Alison Foster Executive Producer: Amanda Eads Marc Klasfeld can be reached at www.rhfilms.com Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Foo Fighters "Times Like These" Marc Klasfeld

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(Part D) 7/25/03 Armond White on Elton John "Original Sin" (Part D) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center in NYC. Musician: Elton John Song: "Original Sin" Director: Marc Klasfeld Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Marc Klasfeld can be reached at www.rhfilms.com Tags: Armond White Elton John Original Sin Marc Klasfeld

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(Part C) 7/25/03 Armond White on UNKLE "Eye For An Eye" (Part C) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center Artist: UNKLE Song: "Eye For An Eye" Director: Shynola Here's a profile of Shynola. It was taken from; http://www.noass.lv/main.php?lang=en&page=1&id=44 Gideon Baws, Chris Harding, Richard ?Kenny? Kenworthy and Jason Groves met in 1994 at The Kent Institute of Art and Design. Moving in together, they collaborated on many different art projects during their time at college, and in 1996 organised a show of work at a London gallery which they called "Shinola" in reference to a line in The Jerk, a film starring Steve Martin in which his father tells him that all he needs in life is the ability to tell ?shit from Shinola? (an old brand of boot polish). Bored by their college course and determined to work with anyone who would allow them to make interesting, creative stuff, they quit college and started approaching record labels and anyone else they thought might hire them to do anything. In 1999 James Lavelle of Mo? Wax Records commissioned them to make an animated acceptance speech for the NME Brat Awards and that piece, alongside Kenny?s graduation piece, a short film called The Littlest Robo which they all collaborated on, attracted the attention of the music video industry and they signed to Oil Factory Films. Their reputation grew very quickly and they soon found themselves making videos for some of their favourite artists and winning many awards for their trouble. Now signed to Ridley Scott Associates, the collective also make commercials and worked on a feature film for the first time last year, completing the animated shots of the guide in Hitchhikers Guide to the Galaxy. Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White Shynola UNKLE Eye For An

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(Part B) 7/25/03 Armond White on The White Stripes (Part B) July 25, 2003 CRITIC Armond White's "VISUAL RADIO" Music Video Presentation at Lincoln Center. Band: The White Stripes Song: "Seven Nation Army" Director: Alex and Martin Producer: Dan Dickerson Comm: Richard Skinner Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Tags: Armond White The Stripes Seven Nation Army Alex and Martin

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(Part A) 7/25/03 Armond White on DJ Shadow "Walkie Talkie" (PART A) July 25, 2003 CRITIC Armond White "VISUAL RADIO" Music Video Presentation at Lincoln Center. Musician: DJ SHADOW Song: "Walkie-Talkie" Director: Ben Stokes Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Director Ben Stokes can be reached at: http://www.tinocorp.com/ Tags: Armond White DJ Shadow Ben Stokes Walkie Talkie

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(Part 7A) LL Cool J - Six Minutes of Pleasure (Armond White) Armond White reference. Complete Music Video for LL Cool J "Six Minutes of Pleasure" music video. EROTICA Genre Armond White on LL Cool J - Six Minutes of Pleasure Director: Marcus Nispel Here are some Armond White quotes on the music video. LL COOL J Six Minutes Of Pleasure - The City Sun -- Sept 18-24 1991 ...By decorating the set as a bedroom filled with the toys and sunshine of a child's romper room, Director Marcus Nispel plays out the complex of sexuality with bemused clarity... ...LL's physical activity -- he is shown playing with outrageously, blatantly suggestive double-entendre items as that bouncing ball, a phallic balloon, the nipple of a baby's bottle - - shows him in thrall of (symbolic) eroticism. Nispel does as much with the rap stars smile as with his supple-sinewed torso and warm-brown flesh. L.L embodies the pleasures of the flesh and his boyish happiness over this discovery keeps the story in the song from being sordid (or exploitative as in last year's hilarious, bodacious Big Ol' Butt video in which female posteriors rose and heaved like the floats in a Macy's Thanksgiving Day Parade.) Nispel's camera (and candied) sensuality plays a sly trick on commercial iconography; as in C + C Music Factory's 'Gonna Make You Sweat', he breaks down Madison Avenue's color barrier by emphasizing merchandise, then fetishizing it through its manipulation by performers of color. Underneath 6 Minutes' parody of a Saturday morning Mattel toy spot (complete with L.L's Cat-In-The-Hat wriggly, expandable headgear), Nispel virtually advertises libidinal excess. Madonna's 'Justify My Love' had nothing as lubricious as LL's wet lips sucking a baby bottle filled with Kool-Aid, or as witty as the three fingered Mickey Mouse glove he offers to his playmate. LL and Nispel are deep into playtime; they're bred-in-the-bone orgiasts in toyland. Their imaginative use of 'innocent' props is just short of pornographic and that distance is threatened by LL himself, who has the charm of the boy next door with something more... ...Nispel picks up on this thrill by keeping in rotation the nursery school colors; the primal, childlike lurching, humping, fingering gestures; the skin; the smiles; the healthy good humor... NOTE: In August of 1996, Critic Armond White devoted an entire music video presentation to the work of filmmaker Marcus Nispel, the director of this music video. Tags: LL Cool Armond White Six Minutes of Pleasure Rap Hip-Hop

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(Part 14) Armond White on Jay-Z "99 Problems" - Mark Romanek (Part 14) SAT, July 28, 2007. SCANNERS 2007 Video Festival. Film Society of Lincoln Center. CRITIC Armond White's "Official History of Music Video: An Introspective" Presentation (15th Annual). American Gangster? Gangsta? Listen to the critic mention the Sam Peckinpah reference, among others...Oh yeah, check out the cameos by music producer/exec RICK RUBIN and actor VINCENT GALLO. PANTHEON Exhibit D CRITIC Armond White on Jay-Z "99 Problems" Director: Mark Romanek Here's a link to an article promoting the event. http://www.nypress.com/20/30/news&columns/feature.cfm here's an essay where the critic writes about the "99 Problems" music video. http://www.markromanek.com/press/nypressb.html Critic Armond White can be reached courtesy of the weekly newspaper The New York Press http://www.nypress.com or the newsletter First of the Month http://www.firstofthemonth.org Here are some Armond White quotes on the music video (from his extended essay on the 99 Problems music video)... "hiphop hit a brick wall at its most influential moment with booty-clapping, money-tossing imagery and lurid, greed-driven lyrical content. but filmmaker mark romanek and jay-z have finally broken through this ethical stagnation with the new music video 99 problems. it's a strong, strangely beautiful fiction that subverts hiphop cliche and achieves a streetwise definition of new york city that film and music fans have been waiting to see updated since mean streets..." "...in stevie wonder's 1973 "living for the city," a tourist famously (and naively) exclaimed "new york! just like i pictured it!" ironically, romanek proves that in the hiphop era most people's idea of new york comes from videos (and movies) that dishonestly construct a stereotypical new york of loiterers, thugs and reprobates. black and white film gives it a documentary effect, as if casting an anthropological eye on graffiti, tenements, break-dancers and flashy cars. the stylized look distances ghetto life, but romanek's structure shifts from borough to borough, playground to jailhouse—a series of interlocking actions from a crazy-quilt travelogue of new york city. 99 problems shows a young black man's new york as it has never been seen before. jay-z spins a tale of common aimlessness and selfish survival ("ya havin' girl problems?/i feel bad for you, son/i got 99 problems/and a bitch ain't one"). his delivery is terse yet eloquent—swingsong, but the world he walks through is ferocious..." "...no rap fan watching 99 problems would sensibly long to partake in its spectacle. the jail scenes (with frontal nudity of inmates being sprayed for lice) are controversial, restricting the video's airplay even on cable outlets. this is a tribute to romanek's visual intensity. he has an iconographic gift to make commonplace things memorable or (as in hurt for johnny cash) numinous. in 99 problems, images and words become a wrecking ball against the familiar edifice of ghetto-fabulous determinism. 99 problems breaks through the nyc truisms of poverty and deprivation that hiphop culture has romanticized. romanek sees the place clearer, tougher and poetically. the cliches will no longer stand." "every other music video director will have to face up to this and respond. romanek's esthetics are informed by a rare social consciousness. (he not only shows what new york folks look like, but how they actually live, mixing harshness and lyricism.) that's the subversion. this video questions what all the others say is fly, def or cool by showing that hipster perspective to be limited; simply sexy rather than shocking; and laughable instead of tragic. "we're trying to show the artistry side of hiphop," jay-z told a reporter. "i just really wanted [mark] to shoot like where i'm from in brooklyn and shoot the hood, but shoot it like art, not just shoot a bunch of dudes or a bunch of cars." "...as romanek's images keep coming at you—pulsing to producer rick rubin's sullen, reverberating beat—they fall into line as maybe the truest-ever hiphop portrait of new york life. from the marcy projects to a church in brooklyn, it's a visual parade of around-the-corner confrontations, whimsical children, lost adults, desperate hedonism—the things most hiphop videos treat blithely. no bling-bling allowed. romanek never pauses for condescension, but a couple shots that dolly into a funeral home, then a coffin, are appropriately stunning. only the inevitability of death impedes on the velocity of life..." Director MARK ROMANEK can be reached at: http://www.markromanek.com You can also see the director's cut of the Jay-Z "99 Problems" music video at http://www.markromanek.com NOTE: In the mid-90's (not sure of year, perhaps 1995?) Critic Armond White devoted an entire music video presentation to the work of Director/Filmmaker MARK ROMANEK, director of this music video. Tags: Armond White Mark Romanek Jay-Z 99 Problems Hip-Hop Rap Rock Rick Rubin Peckinpah American Gangster Gangsta

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(Part 13B) Armond White on Michael Jackson "Black Or White" (Part 13B) SAT, July 28, 2007. SCANNERS 2007 Video Festival. Film Society at Lincoln Center. Walter Reade Theater. CRITIC Armond White's "Official History of Music Video: An Introspective" Presentation. This footage airs the original segment/portion of the music video that caused a lot of controversy when it initially aired. (Part 13B) PANTHEON Exhibit C CRITIC Armond White on Michael Jackson "Black Or White" Director: John Landis Here's an article promoting the event: http://www.nypress.com/20/30/news&columns/feature.cfm Armond White can be reached courtesy of the weekly, the New York Press http://www.nypress.com Or the newsletter, First of The Month http://www.firstofthemonth.org/ Here are some quotes from Armond White on this section of the music video. It's from the essay, "Black Or White, The Gloved One Is Not A Chump". "...It's doubtful if the most devoted Jackson fans were prepared for the coda's display of complex, raw anger. On the sound stage where the morphing sequence was shot, a panther stalks the set unnoticed by the technicians, and wanders off to a dark, misty city-street set, where the panther transforms into Jackson. Dressed in black, with white socks and arm brace, plus a black fedora, Jackson turns his early eighties robotic break moves into Kewpie doll spasms that are jerky, tense (his joints seem to have 360-degree hinges) and finally sensual." "This is a film noir version of Gene Kelly's famous Singin' In The Rain number, and Jackson's subversion of that cheerful archetype surely disturbed most people's notion of what show business is all about..." "...fondling his groin and pinching his nipple, Jackson goes past exhibitionism into artfully rendered obsessiveness, for anyone who had him pigeonholed as a harmless eunuch, his coda says, 'Not so fast! I'm an adult, I got a dick! And I'm angry,' " "The coda's most amazing semiotic moment is a close shot of Jackson slowly zipping up his fly. The invisible penis is what's called a 'structuring absence' - - the drive of the entire video represents the thrust of his ego..." The City Sun. November 21, 1991 Also seen in the book, "THE RESISTANCE: Ten Years of Pop Culture That Shook The World" This article/essay won the 1992 ASCAP Deems Taylor Award in Music Criticism/Journalism Tags: Armond White Michael Jackson Black or Soul Pop R&B Hip-Hop World Music John Landis Rap American Gangster Gangsta

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(Part 13A) Armond White on Michael Jackson "Black Or White" (Part 13a) SAT, July 28, 2007. SCANNERS 2007 Video Festival. Film Society of Lincoln Center. Walter Reade Theater. CRITIC Armond White's "Official History of Music Video: An Introspective" Presentation. This portion features the airing of the mainstream portion of the music video. (Part 13A) PANTHEON Exhibit C CRITIC Armond White on Michael Jackson "Black Or White" Director: John Landis Here's an article promoting the event: http://www.nypress.com/20/30/news&columns/feature.cfm Armond White can be reached courtesy of the weekly, the New York Press http://www.nypress.com Or the newsletter, First of The Month http://www.firstofthemonth.org/ Here are a few Armond White quotes on this music video from the article, "Black Or White, The Gloved One Is Not A Chump" "...Even though the video's credits say 'Directed by John Landis,' this is significantly the work of an auteur whose image and personality dominate every frame. Black or White is very much a Hollywood production, filled with million-dollar savvy and showbiz panache. It is ebulliently photographed and has been ebulliently conceived. The color doesn't imitate old MGM musicals, as Janet Jackson's Alright does; this is a brighter, smoother palette, like Steven Spielberg's zestier productions. The slickness and vibrancy generate a cheerful mood, just as they reify a philosophy of benevolent transformation that becomes literal in the video's fourth sequence." "...the triumphant image of Jackson held aloft by the Statue Of Liberty (he strikes the pose of his BAD video), negating Barbra Streisand's narcissism in Funny Girl, announces a new level of symbolism. As the image widens, Jackson is seen surrounded by the Eiffel Tower, the Sphinx, the Taj Mahal, the Acropolis, Big Ben, and other wonders of the world in a vivid fantasy collage. It's obvious that he is speaking to the world at large, but the less superficial meaning of the image shows that he is equal to these wonders: equally famous, equally legendary, equally 'big'..." The City Sun, November 21, 1991 Also seen in the book, "THE RESISTANCE: Ten Years of Pop Culture That Shook The World" by Armond White This article/essay won the 1992 ASCAP Deems Taylor Award in Music Criticism/Journalism Tags: Armond White Michael Jackson Black or Pop R&B Rock Soul John Landis Music Video ABC American Gangster Gangsta

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(Part 12) Armond White on Madonna "Like A Prayer" (Part 12) SAT July 28, 2007. SCANNERS 2007 Video Festival. Film Society of Lincoln Center. CRITIC Armond White's "Official History of Music Video: An Introspective" Presentation. PANTHEON Exhibit B Critic Armond White on Madonna "Like A Prayer" Director: Mary Lambert Here's an article promoting the event: http://www.nypress.com/20/30/news&columns/feature.cfm Armond White can be reached courtesy of the weekly, the New York Press http://www.nypress.com Or the newsletter, First of The Month http://www.firstofthemonth.org/ Here are a few quotes by Armond White on this music video: On its 'plot': "...Our general familiarity with pop icons is put into witty, abstract context: Madonna witnesses a woman being attacked on the street by a group of white thugs. When a Black Man (played by the actor Leon, from Women Of Brewster Place) helps the injured woman, a police car pulls up and the man is arrested for the crime. Running away, in fear and shame, Madonna comes upon a church. Inside, she approaches a statue of a Black saint (Saint Martin de Porres?) on an altar behind a wrought-iron gate, and the resemblance to the Black man whose arrest she witnessed causes a moral frisson; it invokes a sense of Christian love and duty." "In her spiritual agony/reverie Madonna is overwhelmed by entreaties from a Black gospel choir. The film goes into high gear as the chorus builds and violent images of social turmoil alternate with visions of interracial sensuality. These encourage Madonna to act on her social and religious responsibility and report the Black man's false arrest. In 1989 that's a radical act..." "...Like A Prayer is the most exciting film (short or feature length) made in America in several years. With its race-and-sex nexus, it puts the two most volatile themes in our culture in the center of public mind. But the poetry of its music-video structure makes it aesthetically daring and inventive. Lambert's expertise is an interesting recent example of the ingenuity of music video. Her film doesn't simply illustrate the song's lyrics (or recreate actual social history like the Edmund Perry story that inspired the Martin Scorsese-Michael Jackson Bad); Lambert creates a story from the social and emotional subtext of the song's musical structure..." "...Among the many radical ideas in the video is the close, sensual embrace of Madonna and Leon, whose dark and light lips meet..." The City Sun, June 14, 1989 Also seen in the book, "THE RESISTANCE: Ten Years of Pop Culture That Shook The World" by Armond White (quote taken from an Armond White article on Michael Jackson's 'Black or White' music video)...Madonna and her director, Mary Lambert, sought to subvert the Ku Klux Klan's use of the burning cross and return the medieval significance of the wrath of God... Also seen in the book, The Resistance... Tags: Armond White Madonna Like Prayer Leon Mary Lambert Dance Pop Amercian Gangster Gangsta

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(Part 11) Armond White on PE "Night Of The Living Baseheads" (Part 11) SAT July 28, 2007. SCANNERS 2007 Video Festival. Film Society of Lincoln Center in NYC. Walter Reade Theater. CRITIC Armond White's "Official History of Music Video: An Introspective" Presentation (15th Annual). PANTHEON Exhibit A (Part 11) CRITIC Armond White on PUBLIC ENEMY "Night Of The Living Baseheads" Director: Lionel C. Martin Here's an article promoting the event: http://www.nypress.com/20/30/news&columns/feature.cfm Here's an excerpt: "...Night of the Living Baseheads Confirmation that music videos were something more than advertisements for pop singles came with a quintessentially New York story: the 1988 release of Public Enemy's "Night of the Living Baseheads." As directed by Lionel Martin, founder of the New York production house Classic Concepts, the outfit that gave first chances to iconic directors Hype Williams, Paul Hunter, the "Baseheads" video broke new ground. It presented the music video as a form of social expression from the subculture of hip-hop music. Martin and P.E. producer Hank Shocklee conceived "Baseheads" as a modern reflection of television's mainstream as encountered by hip-hop radicalism. They used news footage of crack houses and homeless crackheads to set the stage for comic depictions of a TV news program (PE-TV), plus commercials, interview segments with victimized ghetto families, the fantasy of PE as a superhero group abducted by hip-hop-phobes, yet breaking free with the news of black America in crisis. It was postmodern as all get out, but its postmodernism also verified that music video could be a vital response to the pabulum Hollywood at that time (as today) was feeding the American public with offal, like Die Hard, Rain Man, Mississippi Burning and Working Girl. The satire and sincerity in "Baseheads" effectively countered the disingenuousness and outright falsehoods of those feature films. Music video watchers were thrust ahead of the cultural curve but were provided fresh insight into contemporary social issues—teased into using their political imaginations. Shocklee explains "Baseheads'" radical-seeming approach as, "We wanted to do something original. If people wanted to hear the record, they could play the record. But when they watch the video we want them to see it as a separate and original thing." All the great hip-hop videos that reported daily life and political drama—Bushwick Bill's "Ever So Clear," Ice Cube's "Dead Homiez," Geto Boys' "Mind Playing Tricks on Me," Lauryn Hill's "Doo Wop"—all derive from the revolutionary "Baseheads." ..." Armond White can be reached courtesy of the weekly, the New York Press http://www.nypress.com Or the newsletter, First of The Month http://www.firstofthemonth.org/ Public Enemy can be reached at: http://www.publicenemy.com Lionel C. Martin can be reached at: http://www.myspace.com/vidkidproductions Here are a few quotes from Armond White regarding this music video: "Opens with a postmodern parody of politicized television -- PETV -- to relay rap's new pop revolution." Night Of The Living Baseheads is "...the first music film for PE that translates its radical state of the art musical strategies - - scratching, sampling, and agit-prop lyrics -- into visual terms." "...using the premise of a pirate news broadcast of the fictitious PE-TV, the clip is one-third movie parody, two-thirds alarm at the social devastation of crack and cocaine (freebasing). PE's urgency keeps their seriousness from being ponderous. Yet the video has the jolt of a televised newsflash. Martin moves from in-studio anchor-room scenes to shots of Chuck D and co-rapper Flavor Flav, real and fake documentary footage, and a satirical commercial for telephone-paging beepers (now considered dealers' paraphernalia)." The City Sun, April/May 1989 "Lionel Martin: An Auteur Is Born" Tags: Armond White Public Enemy Lionel Martin Hip-Hop Rap Night Of The Living Baseheads Chuck Flava Flav American Gangster

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(PART 10) Armond White on DeLaSoul "A Roller Skating Jam..." (PART 10) SAT July 28, 2007. SCANNERS 2007 Video Festival. Film Society of Lincoln Center in NYC. CRITIC Armond White's "Official History of Music Video: An Introspective" Music Video Presentation (15th Annual). SEMI-DOC Genre CRITIC Armond White on DE LA SOUL "A Roller Skating Jam Called 'Saturdays' " Director: Ben Stokes NOTE: Had to change mini-dv tapes. Didn't get to record all of the first verse. Here's an article promoting the event: http://www.nypress.com/20/30/news&columns/feature.cfm Armond White can be reached courtesy of the weekly, the New York Press http://www.nypress.com Or the newsletter, First of The Month http://www.firstofthemonth.org/ Director Ben Stokes can be reached at: http://www.myspace.com/meatbeatmanifesto http://www.tinocorp.com NOTE: In 2004, Armond White devoted an entire music video presentation to the work of Director Ben Stokes, director of this music video. Tags: Armond White De La Soul Roller Skating Jam Called Saturdays Music Video Rap Hip-Hop Ben Stokes

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